Review:
Emerging as one of the most prolific producers currently operating on the fringes of techno, Lakker's Ian McDonnell adds the Unknown To The Unknown label to his prospering discography with this riotous slab under the rarely used EeOo alias. As Lakker, McDonnell and studio partner Dara Smith have been crafting various strands of music for the best part of a decade, but a more concerted focus on techno has seen the Dublin-based pair gain wider exposure thanks to releases on Killekill, Stroboscopic Artefacts, Blueprint and Candela Rising. McDonnell has separately been cultivating his own Eomac project over this period too, which has resulted in some excellent releases for Code Is Law, The Trilogy Tapes and Killekill. Ahead of a debut album for the latter label as Eomac, McDonnell's work as the amusingly framed EeOo seems perfectly suited to UTTU, taking influence from Zomby, Arovane, and Errorsmith. the EP runs the gauntlet between scrambled rave, wonky acid and seemingly eski-inspired melodies, and is possibly one of the wildest records UTTU have put out in their illustrious history.

Review:
Well, we can't exactly say that we expected Merimell to land on Unknown To The Unknown, but it somehow feels just right! The artist who has previously released for the likes of Germany's Desolat, reshapes his sound here into something much freer, bouncier, and more old-school. In fact, "Workout" is a classic Chicago booty house kinda smacker - backed by a deeper and more mechanical remix by Palace Refix - and the same goes for the slithering house roller that is "Getting Hot". The Soft Pink Truth Climate Change mix is perhaps the shining moment on here, and it makes for a seriously catchy groove with a blaster for a bassline!

Review:
The WT Records boss and all round hero of leftfield house circles Willie Burns is building bridges across the pond to DJ Haus' irrevocably irreverent Unknown To The Unknown. It's a chance for Burns to zoom in on his love of old-skool sounds and show them off without a whisper of self doubt. "Woo Right" kicks things off with a piano-led heater steeped in moody '90s attitude, while "The Heaviest Elements" makes for a more aggressive affair with more overt club stylings to impart through tough-edged beats and a distinct lack of any melody. "Fast Times At Long Island City High" shuffles arpeggios and dusty drums through lo-fi delay in a more esoteric approach that is ably followed up by "Adverbs & Adjectives" with its chords that fall somewhere between Detroit techno and early trance in their euphoric veneer.

Review:
Unknown To The Unknown aren't exactly partial to dropping some utter belters, and this year has seen the label extending its reach by recruiting a truly splendid artillery of artists from the worlds of house, techno and electro. This time, however, it's time for a little bass action and Deadly is the man to do it; the London artist has been a favourite of ours ever since the post-dubstep rise of the 2010's. Here we have two smackers, the first "RU4Me" is a slithering house melter with an early-rise Ibiza kind of setting and a lo-fi percussion stutter, while "White Light Gemini" is a little more UK in nature, taking influences from garage bassline...what Deadly does best. Recommended.

Review:
After some initial forays into the lime light for the likes of Hippos In Tanks, Physical Therapy gets the golden ticket in to the deranged Unknown To The Unknown workhouse to turn out some of that irreverent but archly delivered party-smashing business. "C'mere" is a perfect case in point, putting forwards a strong argument for how deep footwork-infused electro can be, while at the same time keeping the cheeky vocal samples bouncing around with wild abandon. "The Black Night Is Calling My Name" keeps things low-slung and rude, while the title track speaks more to a dishevelled, mildly unhinged version of deep house. It's a fun and creatively worthwhile EP at every turn, which is exactly why it fits perfectly on UTTU.

Review:
The Unknown To The Unknown juggernaut shows no signs of slowing down as they absorb UK garage heroes Mista Men into the fray, delivering three club-ready bombs from the duo. "Labrini" takes it back to '97 with its steel pan percussion and bright streaks of neon intersecting its passages of sticky bassline action. "Forget U" opts for the darker approach, offering only snatches of vocals from its foggy bass, while "Hard Drive" takes some bracing synth stabs and puts them together with some breathy vocals and junglist airhorns to create a devastating combination. Right now only Disclosure can match this pair for such impeccably produced garage inspired beats - big tip!

Review:
Stepping up to the raucous surroundings of Unknown To The Unknown, Palace comes bringing the right kind of bass-laden swagger you expect from this ever-strengthening imprint. "Trust" is a monster, led by a coarse garage drum jive and a b-line cheeky enough to get every wallflower within fifty metres shucking. There's no doubting the instantaneous results this banger will bring, and the remixes are no shirkers either. Matrixxman cools the heat slightly with a mildly stripped variation on the original's driving theme, while the Mista Men opt instead to bring a seriously funky house shuffle to bear on the bin-bothering party antics.

Review:
DJ Haus' Unknown To The Uknown and Filter Dread's blazed-out bass experiments are a match made in heaven. Yes, we-re getting romantic with this shit, because this EP is something to get truly excited about. What we love about it is its ability to showcase to many different UK genres without sounding half-arsed. Tunes like "Expansion" or "Ice Click" manage to infuse the best elements of jungle together with, well, something completely different, and fresh to even the most cynical of ears. Stuttering beats, stoned percussion shots, and heartical waves of low frequencies make this something to treat with respect. Please, please do NOT sleep on this. In fact, don't come wining to us that there ain't no decent music out there before you've digested these killers.

Review:
UTTU return with what is probably their most impressive release yet; The Sadist, a collaboration by the legendary DJ Stingray, and Unknown To The Unknown's DJ Haus. It certainly lives up to its namesake, with "The Sadist (Part One) employing a 160BPM tempo and a searing electro bassline, and furious drum programming that brings the influence of Chicago juke to Stingray's Detroit leaning template. Part two of "The Sadist" meanwhile concentrates more on rapid 808 drum programming and more fluid synths, dragging the listener remorselessly through a world of alien sounds and breakbeat bass. The remixes meanwhile are something very special indeed, with Drexciya's Heinrich Mueller reworking "The Sadist" with a slower tempo, brittle, frosty synth shards and weird transmissions from the other side, and Cestrian (aka Ali Renault) provides similarly great remix of "The Sadist Pt 2", employing all manner of analogue arpeggios in a fine approximation of Detroit's finest.

Review:
In just over a year, Unknown to the Unknown have gone from humble beginnings to releasing material from Detroit legend DJ Stingray, Chicago heat from Marcus Mixx and Alias G, the rudest bassline garage from DJ Q and tracks from up and comers Slackk, Nightwave and Mista Men. But the genesis of the label can be traced back to a YouTube channel known as "DaAutopsy", where Hot City's DJ Haus still posts forthcoming UTTU hype and old vinyl rips to this day. Now the channel has taken on a life of its own, and spewed forth "Tear Tha Fuckin' Club Up!". Undoubtedly the hardest hitting UTTU joint to date, incandescent rave stabs go toe to toe with Baltimore club styles, creating a beast of a club track that resembles a Frankenstein's monster of the YouTube generation. Big tip!

Review:
Danny Wolfers is stuck in a groove right now, a hugely prolific production groove which has him tossing out new material on a seemingly weekly basis for all manner of labels. Hot on the heels of that Nacho Patrol 12" for Simonetti and a under the cover album for Blue Moon Safari comes this this three track debut for the equally relentless Unknown To The Unknown label. The Star Gazing EP makes for a wondrous display of Legowelt's talent for implementing those trademark melodies within various rhythmic frameworks; in the case of stand out track "Visions In My Mind", it's a hypnotic disco jacker lent no small degree of melancholy by the titular vocal.

Review:
Continuing to spread his identity out across a myriad of labels from Tectonic to Keysound, Jack Adams now brings his Mumdance to Unknown To The Unknown for a workout that channels his own production traits into a decidedly 'up-for-it' blend that suits the label just fine. "It's Peak" marches out on a limber, garage-informed groove while the sounds and ideas stay raw and visceral, honed for club consumption. "Springtime" meanwhile flips the script completely with a purple-esque electro number dripping with saccharine synths shot through with that tongue-in-cheek UTTU flavour, making this a record that will reach out to very different kinds of electronic beat fiends.

Review:
That fun-loving renegade DJ Haus is at it again, whipping out an embarrassment of party-starters for all those that want to be smacked in the face by their house music. The lead chords of "Hey Now, Wait A Minute" tell you all you need to know, pitched towards the peak of summer that lies somewhere in the distance and ready to inspire all manner of grins in the dance. The drums are rowdy and the synths are brazen across the EP, from the Nightmares On Wax-aping bleep abandon of "Dexterous" to the scuffed breakbeat of "Tell Me", with every ounce of old-skool 'avin it attitude rendered in perfect early '90s style.

Review:
Unknown To The Unknown's early '90s inspirations are well documented, with boss man DJ Haus frequently signing and releasing tracks that doff a cap to ghetto-house, acid, Belgian techno and early British hardcore. Despite this history, Gnork's "Space Beach" feels surprisingly fresh. Described, somewhat matter-or-factly, as "jungle techno", the title track does a brilliant job combining booming, skittish, energy-packed early jungle rhythms with the kind of spacey melodies and chords that you'd expect to find on vintage Detroit techno records. Flipside "Double Sunset" jettisons the Motor City inspirations in favour of a more straight up, bass-heavy early jungle flex, with rich dub bass enhancing the mood.

Review:
UTTU have a cast-iron reputation for releasing cutting edge work by a wide variety of acts as disparate as Legowelt, Sinden and Capracara. Here we get a selection of their more bass/urban-oriented talent. Classified delivers vintage cut-up UKG on "Say To You". The latter is given a wobble heavy remix by DJ Q, who also provides the warm, Ayia Napa sounds of "All You Have To" and "You're Not Around". Zibba contributes the squelchy, string laden "Say To You (2006)" and Mooney goes all loopy funk on "Hey Hey".

Review:
Back in the 90s, US techno producer Steve Stoll released an EP on white vinyl in the shape of a circular saw. The art for the latest release on DJ Haus' label looks similar to that release - and doesn't sound radically different either. In fact, the only real difference to Stoll's 1995 release is the absence of forceful acid pulses - otherwise, P.O.L Style's "Saw" and the "Saw 2" version crackle with insistent percussion, insistent stabs and an insistent, jacking rhythm. Remixes from Mike Q and Neana, which add a banging, drum-heavy sensibility to the original "Saw", complete the package.

Review:
Legowelt returns to Unknown To The Unknown for another bunch of wonderful excursions through obsolete musical technology under the banner Sampling Winter. Leading with the title track, this finds Danny Wolfers on a soulful and deep house vibe with a wandering and mesmerising melody, warm pads and super shuffling garage style rhythm. On the flip is "Beach Oceano" which is equally rich in soulfulness but more on the deeper techno vibe, with its sharp and hypnotising arpeggio backed by galactic melodies and glistening pads. All accentuated by analogue tape hiss in the background. This is raw!

Review:
Bringing more of the rough and tumble jack-action to Unknown To The Unknown, Capracara is as up for the party as ever on "Ronin", although arguably reining in his more wayward tendencies for a more direct garage house jam. Still, when the drums hit as hard as they do here, a little linear structure doesn't dampen the spirits. Recent Juno Plus podcasters Kodiak step up for a remix, and they proceed to delineate everything in sight with a chunky broken beat and dense layers of head-spinning melody, vocal samples and effects. It's perhaps less party ready than the original, but addictive all the same. Killer!

Review:
The seemingly unstoppable musical juggernaut that is Unknown to The Unknown marches on with this incendiary single from label boss DJ Haus. "Needin U'" is fresh as they come, a love letter to classic house and UK hardcore and a UFK anthem all at the same time. Mostly, however, it's just straight-up fun rave tackle, with the remix from shape-shifting producer Capracara every bit as good, replacing the original's stepping rhythms with a robust, refreshingly smacky 4/4 pulse. Highly recommended.

Review:
Continuing to bait overly serious dance music with unashamed rave fodder, Unknown To The Unknown enlist a couple of rough and ready remixers in to take DJ Haus' "Needin U" into further realms of large. R1 Ryders step up first with more breaks than a Channel 5 film, wasting no time in launching into a dark slice of rolling old-skool goodness drenched in mammoth synths. Photonz's remix may seem restrained in comparison, kicking off on a haunting refrain and submerged beats, all the while edging towards a proper drop that calls to mind the finest space age machinations of Yorkshire bleep.

Review:
Following on from their excellent Hands of Doom collaboration on Sex Tags, Lozano and Fett Burger get together again. On this occasion however, Lozano delivers three tracks, with Fett Burger providing a remix. The title track is a tracky, acidic affair, based on a discordant rhythm and shot through with high-pitched vocal snippets. "Come With Me" is closer in sound to Hands of Doom, with its robust break beats supporting ponderous tones and bleeps. It sets the scene for "The Afterworld", an atmospheric, fluid track, supported again by lithe back beats, while Fett Burger sends the track into a dreamy state, with a balmy, serene house groove.

Review:
After sturdy appearances on Numbers and Local Action, Slackk returns to one of his earlier outposts in the form of Unknown To The Unknown, throwing down a curious mixture of oriental folk music with grime-inspired beats and the occasional flurry of vintage computer game MIDI business. The beats are slippery and jerky on "Inland" where the synth comes in all side-chained and disjointed, with only gun shots for ballast on the buoyant groove. "Wolf Creek" brings on the aforementioned Monkey Island vibes, using curious keys and harmonies to create a decidedly eerie atmosphere, while "Blue Forest" is arguably the spiciest tune on the EP with its urgent percussion and more involved arrangements of lute action worked into a stomping 140 bpm rhythm.

Review:
Jordan Alexander's been rinsing it under his Mall Grab moniker, and every release since his debut back in 2015 has been hotly tipped by us here at Juno towers. EP's for Church, 1080p and Collect-Call have now earned him a spot on Unknown To The Unknown, one of our favourite labels and surely one of the most diverse, too. "I've Always Like Grime", as the name implies, is a house track made by someone who listened to high doses of Crazy Titch and Plastician back in the day, but "Black Palms" does its best to distance itself from the UK thanks to some pretty nasty acid bumps, and "Menace II Society" heads to Chicago with its singular vocal sample and dusty house flex. Sick!

Review:
Lake Haze aka Goncalo Salgado has a small but impressive catalogue that includes records on Creme and One Eyed Jacks, but arguably his best material has been reserved for Unknown To The Unknown. Here, he delivers two contrasting but impressive sounds. The title track is a rich, symphonic house track, its evocative strings and slightly cheesy keys calling to mind Ibizan sunsets. By contrast, "Apollonia" sees Haze get busy with his drum machine and Roland to deliver a furious acid workout that has shades of Armando. Meanwhile, DJ Boring offers another perspective to bear with his remix of the title track. Stripping away the melodies, he delivers a firing, bleepy workout.

Review:
All that time conversing with the likes of Marcus Mixx and DJ Stingray must have rubbed off on Unknown To The Unknown's DJ Haus. Despite his Hot City project (alongside Ben Keen) being known for its bass-heavy 2-step productions, this EP, in collaboration with the LA/Montreal pair LOL Boys, consists of a pair of tweaking acid-house jackers. The title track opens with a flurry of swung 808 kicks and neon stabs, before giving way to a rough and ready 303 line, with the rhythm straightened out in the second half into a tough 4/4 house rhythm. "Whitney (Jus Some Shit)" is another winning piece of Chicago inspired house, with a gnarled bassline, driven by furious cowbells and detuned ghetto vocal samples, all with a grimy undercurrent that keeps its feet firmly entrenched in the underground of contemporary London club music. If you're worried that the new direction will cause some of Hot Ciy and LOL Boys energy to be lost in translation, don't be - this is some their best output to date.

Review:
The inlay art on this release says it all. Featuring a female face peeking through clouds and a blissed out heavenly body floating above her, it mimics the early utopian states imagined on early 90s dance music covers. The accompanying music also wears its influences openly. Daze, an Australian producer, previously released a trio of records for Lobster Theremin, but for this outing ditches much of the gritty tape noise that he had shrouded his previous work in. The title track is all wide-eyed synths and hyper-speed jungle breaks while on "Centuries Later" he slows down the pace to emulate Nexus 21 and Detroit techno. However, the main narrative on this release is the pre-jungle period and as "Xx" shows, Daze manages to capture the mixture of musical depth and high-speed rhythms that defined that period.

Review:
Lisbon producer Lake Haze pops his UTTU cherry here with two classy forays into the world of his beloved UK garage. The boy's done good with these new additions to the label's revered catalogue - "Late Night Trip" is a stomping 4 x 4 wobble belter wrapped in typically trippy, bleepy melodies. However, with its laser blasts, epic synthlines and heavy tropical rhythms, "Need For Speed" ain't just Tom Cruise's favourite, it's ours too!

Review:
In years to come, Danny Wolfers might be compared favourably to musical mavericks such as Sun Ra. Certainly, he's always been an artist ahead of his time, who makes and releases a dizzying amount of material, on a confusing array of labels, under a similarly befuddled number of aliases. Here he dons the familiar Legowelt alias and returns to Unknown To The Unknown with "Institute of the Overmind", a cheery acid wiggler that successfully combines sharp and hooky 303 lines with punishing, snare-heavy rhythms, skewed vocal samples and just the right amount of evocative, synthesizer sweetness. Check out FACT TV to see Wolfers produce the cut in real time, whilst DJ Haus looks on amazed. Label regular Photonz provide the flipside remix, emphasizing Wolfers' synthesizer hooks and acid lines on an undeniably sweet, attractive and ravey revision.

Review:
De Sluwe Vos in Dutch translates to The Sly Fox. He goes for some old Chicago hard house flavour reminiscent of Green Velvet's seminal Relief Records imprint on the deep down and dirty "Insert Track Title Here". "Basement Workout III" continues on with said aesthetic with its thunderous 808 drum machine workout, meticulously programmed to good fashion. Then, finally, Person Of Interest's '90s rave remix of the last track injects some smashing breakbeats, hoovers and mentasms to take you back to Heaven, London circa-'93 with Fabio and Grooverider on the decks.

Review:
DJ Stingray's second appearance on Unknown To The Unknown is finally made available digitally. "Cryptic" is a bad-ass Stingray cut, where his uncompromising synth arpeggios flutter away into space, taking us on a wild frenzy through inter-galactic territories. "Know Your Enemy" is a heavy, breakbeat-ridden mutant - containing some of the nastiest, most filthy vocal samples you'll hear this millenium, whilst "Solitude" picks up from where the man left off since his last LP and delivers a fine package of funky electro basslines and gnarly, contorted drum patterns. TIP!

Review:
50 releases in under four years is no mean feat, so a round of applause to Unknown to the Unknown who surpass the landmark with a new record from Legowelt. The superbly named Immensity Of Cosmic Space arrives hot on the heels of Legowelt's fine Vaporware Tracks record for Creme and sees the Dutchman exploring the realm of rave era breakbeat techno. Of course what makes Danny Wolfers work as Legowelt so distinctive his mastery of star gazing melodies and hearing them fused with recycled drum breaks on the title track and the Amen filled "Lumeria2" is a real delight.

Review:
Kevin McHugh hails from the US of A but is very much part of the Berlin community right now, and his extensive appearances for the Delft label have resulted in this new EP for the Unknown To The Unknown crew, the place to be at the moment and one of the finest dance labels around. Accordingly, "I Feel Lit" is an instantly hummable-danceable banger with a heavy kick swing, blasting acid bleeps and a repetitive vocal sample - a true A-side bomb with a nasty edge. For the B-side, McHugh drops "Alarm (Chirp mix)", a drum-heavy DJ tool coated in a rough, analogue sound aesthetic, while Dutch master Alden Tyrell remixes "I Feel Lit" into a swarming wave of 303 techno with absolutely no care in the world but the dance floor. Heavy.

Review:
Following on from its recent flirtation with pre-jungle break beat and rave, DJ Haus' prolific label looks at another old school style courtesy of Oushe. Despite having just one previous release to his credit, Hyper Logic sounds like the work of a veteran who has been active since the early 80s. Mysterious synth stabs accompany a pitched down robo-vocal and gritty bass licks as Oushe navigates a path between Miami funk and Detroit futurism. Executed against a backdrop of insistent 808s and featuring gaudy covert art, this is one of Unknown to the Unknown's most intriguing releases to date.

Review:
Gang Fatale's Bleaker delivers one of the simplest but deadliest mixing tools you'll hear all year. With its relentless kicks, loopy vocal sample and breakdown into classic amens, it's the type of rolling tech record you could imagine working in almost any DJ's sets from Scuba to VonStroke to Deetron to the Stanton Warriors. HELIX's remix, meanwhile, subverts the linear nature of the original and churns it through a trippy beat machine with added harmonic dynamics. Finally "Jam" takes Bleaker's stripped back style and rebuilds it with added Detroitian grit to the drums; all skittering hi-hats and jaw-breaking toms, it's designed purely for DJ creativity.

Review:
UTTU helpfully describe this release from Boysnoize affiliates Shadow Dancer as "dungeon acid". It's an apt description. Ooozing with energy, it sounds like the revivalist rave fare recently offered up by the excellent R-Zone imprint. "Hydrate" darts around impressively, all chopped up vocals, darkroom samples, colossal builds and rave-era stavs. Photonz handle remix duties, turning the in-your-face original into an intense chunk of nightmarish acid techno that seems to be the product of a particularly freakish trip. That's a good thing, mind. Bonus cut "Matta", on the other hand, offers the sort of classic 303 thrills last heard emerging from the studios of Phuture and Virgo Four at the tail end of the 1980s.

Review:
With over 20 releases in less than two years UTTU have managed to uphold their credibility, so often lost with labels who spit out song after song like copy machines (to quote Lil' Louis' French Kiss), and this release from Portugeuse pairing Photonz is another killer. Balearic, beatdown and busy electro with hints of a 80s Hollywood action soundtrack make up the ten-minute title "Hurt Me Hurt Me". Piqued melodies and synthesised pan pips are treated to 707 workouts in "Veracruz", remixed by Boy s Noize Records stalwarts Shadow Dancer who up the BPM and exercise their Warp Records influences.